欧洲的某个地方
影片信息
- 状态：已完结
- 主演：Artúr Somlay/Miklós Gábor/Zsuzsa Bánki/
- 导演：Radványi Géza/
- 年份：1948
- 地区：其它
- 类型：剧情/
- 时长：内详
- 上映：未知
- 语言：其它
- 更新：2024-05-01 08:46
- 简介： Somewhere in the remote region, the war ends. In the midst of ruined cities and houses in the streets, in rural hamlets, everywhere where people still live, are children who have lost their homes and parents. Abandoned, hungry, and in rags, defenseless and humiliated, they wander through the world. Hunger drives them. Little streams of orphans merge into a river which rushes forward and submerges everything in its path. The children do not know any feeling; they know only the world of their enemies. They fight, steal, struggle for a mouthful of food, and violence is merely a means to get it. A gang led by Cahoun finds a refuge in an abandoned castle and encounters an old composer who has voluntarily retired into solitude from a world of hatred, treason, and crime. How can they find a common ground, how can they become mutual friends? The castle becomes their hiding place but possibly it will also be their first home which they may organize and must defend. But even for this, the price will be very high. To this simple story, the journalist, writer, poet, scriptwriter, movie director, and film theoretician Béla Balázs applied many years of experience. He and the director Géza Radványi created a work which opened a new postwar chapter in Hungarian film. Surprisingly, this film has not lost any of its impact over the years, especially on a profound philosophical level. That is to say, it is not merely a movie about war; it is not important in what location and in what period of time it takes place. It is a story outside of time about the joyless fate of children who pay dearly for the cruel war games of adults. At the time it was premiered, the movie was enthusiastically received by the critics. The main roles were taken by streetwise boys of a children's group who created their roles improvisationally in close contact with a few professional actors, and in the children's acting their own fresh experience of war's turmoil appears to be reflected. At the same time, their performance fits admirably into the mosaic of a very complex movie language. Balázs's influence revealed itself, above all, in the introductory sequences: an air raid on an amusement park, seen in a montage of dramatic situations evoking the last spasms of war, where, undoubtedly, we discern the influence of classical Soviet cinematography. Shooting, the boy's escape, the locomotive's wheels, the shadows of soldiers with submachine guns, the sound of a whistle—the images are linked together in abrupt sequences in which varying shots and expressive sharp sounds are emphasized. A perfectly planned screenplay avoided all elements of sentimentality, time-worn stereotypes of wronged children, romanticism and cheap simplification. The authors succeeded in bridging the perilous dramatic abyss of the metamorphosis of a children's community. Their telling of the story (the scene of pillaging, the assault on the castle, etc) independently introduced some neorealist elements which, at that time, were being propagated in Italy by De Sica, Rossellini, and other film artists. The rebukes of contemporary critics, who called attention to "formalism for its own sake" have been forgotten. The masterly art of cameraman Barnabás Hegyi gives vitality to the poetic images. His angle shots of the children, his composition of scenes in the castle interior, are a living document of the times, and underline the atmosphere and the characters of the protagonists. The success of the picture was also enhanced by the musical art of composer Dénes Buday who, in tense situations, inserted the theme of the Marseilaise into the movie's structure, as a motive of community unification, as an expression of friendship and the possibility of understanding. Valahol Europaban is the first significant postwar Hungarian film. It originated in a relaxed atmosphere, replete with joy and euphoria, and it includes these elements in order to demonstrate the strength of humanism, tolerance, and friendship. It represents a general condemnation of war anywhere in the world, in any form.
9.0
网友评分
469次评分剧情简介
Somewhere in the remote region, the war ends. In the midst of ruined cities and houses in the streets, in rural hamlets, everywhere where people still live, are children who have lost their homes and parents. Abandoned, hungry, and in rags, defenseless and humiliated, they wander through the world. Hunger drives them. Little streams of orphans merge into a river which rushes forward and submerges everything in its path. The children do not know any feeling; they know only the world of their enemies. They fight, steal, struggle for a mouthful of food, and violence is merely a means to get it. A gang led by Cahoun finds a refuge in an abandoned castle and encounters an old composer who has voluntarily retired into solitude from a world of hatred, treason, and crime. How can they find a common ground, how can they become mutual friends? The castle becomes their hiding place but possibly it will also be their first home which they may organize and must defend. But even for this, the price will be very high. To this simple story, the journalist, writer, poet, scriptwriter, movie director, and film theoretician Béla Balázs applied many years of experience. He and the director Géza Radványi created a work which opened a new postwar chapter in Hungarian film. Surprisingly, this film has not lost any of its impact over the years, especially on a profound philosophical level. That is to say, it is not merely a movie about war; it is not important in what location and in what period of time it takes place. It is a story outside of time about the joyless fate of children who pay dearly for the cruel war games of adults. At the time it was premiered, the movie was enthusiastically received by the critics. The main roles were taken by streetwise boys of a children's group who created their roles improvisationally in close contact with a few professional actors, and in the children's acting their own fresh experience of war's turmoil appears to be reflected. At the same time, their performance fits admirably into the mosaic of a very complex movie language. Balázs's influence revealed itself, above all, in the introductory sequences: an air raid on an amusement park, seen in a montage of dramatic situations evoking the last spasms of war, where, undoubtedly, we discern the influence of classical Soviet cinematography. Shooting, the boy's escape, the locomotive's wheels, the shadows of soldiers with submachine guns, the sound of a whistle—the images are linked together in abrupt sequences in which varying shots and expressive sharp sounds are emphasized. A perfectly planned screenplay avoided all elements of sentimentality, time-worn stereotypes of wronged children, romanticism and cheap simplification. The authors succeeded in bridging the perilous dramatic abyss of the metamorphosis of a children's community. Their telling of the story (the scene of pillaging, the assault on the castle, etc) independently introduced some neorealist elements which, at that time, were being propagated in Italy by De Sica, Rossellini, and other film artists. The rebukes of contemporary critics, who called attention to "formalism for its own sake" have been forgotten. The masterly art of cameraman Barnabás Hegyi gives vitality to the poetic images. His angle shots of the children, his composition of scenes in the castle interior, are a living document of the times, and underline the atmosphere and the characters of the protagonists. The success of the picture was also enhanced by the musical art of composer Dénes Buday who, in tense situations, inserted the theme of the Marseilaise into the movie's structure, as a motive of community unification, as an expression of friendship and the possibility of understanding. Valahol Europaban is the first significant postwar Hungarian film. It originated in a relaxed atmosphere, replete with joy and euphoria, and it includes these elements in order to demonstrate the strength of humanism, tolerance, and friendship. It represents a general condemnation of war anywhere in the world, in any form.
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1、请问《欧洲的某个地方》电影什么时候上映？
电影吧网友： 欧洲的某个地方于1948在其它上映
2、请问哪个网站可以免费在线观看《欧洲的某个地方》？
优酷视频网友：您可以用手机打开百度APP在搜索框里输入：《欧洲的某个地方》免费在线观看，就可以找到免费播放资源了。手机免费看欧洲的某个地方免费网址：www.duonaovod.com/index.php/vod/detail/id/47784.html这个网站免费无广告。 这个网站资源相对比较多，如果观看不了或者更新不及时只需要【切换线路即可】
3、请问《欧洲的某个地方》什么类型的电影？
多瑙影院网友：截止到2024-05-01 08:46，《欧洲的某个地方》已经更新超清。
4、请问谁有《欧洲的某个地方》高清无删减版资源
多瑙影院网友：多瑙影院提供《欧洲的某个地方》高清无删减版在线播放，这个网站高清无广告！
5、电影《欧洲的某个地方》演员有哪些？
多瑙影院网友：欧洲的某个地方有以下主演：Artúr Somlay,Miklós Gábor,Zsuzsa Bánki
6、电影《欧洲的某个地方》评价怎么样？
百度最佳答案《欧洲的某个地方》评价很好，我觉得超级好看，首先选角很好，我现在已经追小说了带入的都是他们！剧中有太多细节了！男女主令我动容
7、电影《欧洲的某个地方》豆瓣影评
豆瓣电影最佳影评：我感觉欧洲的某个地方还不错的，导演Radványi Géza设计了很多镜头非常精彩，我最喜欢的演员：Artúr Somlay,Miklós Gábor,Zsuzsa Bánki，我是他们的粉丝，很多人给3星，所以欧洲的某个地方真的这么糟吗？当然不是，即使在这部电影欧洲的某个地方里，他所体现出的严肃的态度依然是现在大多数导演缺乏的。如果演员演技爆炸或者剧本极佳，我也不会吝啬我的5星
mtime时光网影评：欧洲的某个地方剧情很流畅，人物也很丰满，节奏把握的很好，Artúr Somlay,Miklós Gábor,Zsuzsa Bánki演技都非常不错，感情真挚，很有年代感。没有过多煽情，每个人物都发挥了作用，这个片属于惊悚,恐怖类型，细节也很到位。整个影片三观也很正，总体来说，可以和朋友一起看，推荐！！！
百度最佳答案：《欧洲的某个地方》评价很好，演员阵容强大，并且演员的演技一直在线，全程无尿点。你也可以登录百度问答获得更多评价。